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Arizona 500 2021 Final List of Songs
ARIZONA 500 2021 FINAL LIST OF SONGS # SONG ARTIST Run Time 1 SWEET EMOTION AEROSMITH 4:20 2 YOU SHOOK ME ALL NIGHT LONG AC/DC 3:28 3 BOHEMIAN RHAPSODY QUEEN 5:49 4 KASHMIR LED ZEPPELIN 8:23 5 I LOVE ROCK N' ROLL JOAN JETT AND THE BLACKHEARTS 2:52 6 HAVE YOU EVER SEEN THE RAIN? CREEDENCE CLEARWATER REVIVAL 2:34 7 THE HAPPIEST DAYS OF OUR LIVES/ANOTHER BRICK IN THE WALL PART TWO ANOTHER BRICK IN THE WALL PART TWO 5:35 8 WELCOME TO THE JUNGLE GUNS N' ROSES 4:23 9 ERUPTION/YOU REALLY GOT ME VAN HALEN 4:15 10 DREAMS FLEETWOOD MAC 4:10 11 CRAZY TRAIN OZZY OSBOURNE 4:42 12 MORE THAN A FEELING BOSTON 4:40 13 CARRY ON WAYWARD SON KANSAS 5:17 14 TAKE IT EASY EAGLES 3:25 15 PARANOID BLACK SABBATH 2:44 16 DON'T STOP BELIEVIN' JOURNEY 4:08 17 SWEET HOME ALABAMA LYNYRD SKYNYRD 4:38 18 STAIRWAY TO HEAVEN LED ZEPPELIN 7:58 19 ROCK YOU LIKE A HURRICANE SCORPIONS 4:09 20 WE WILL ROCK YOU/WE ARE THE CHAMPIONS QUEEN 4:58 21 IN THE AIR TONIGHT PHIL COLLINS 5:21 22 LIVE AND LET DIE PAUL MCCARTNEY AND WINGS 2:58 23 HIGHWAY TO HELL AC/DC 3:26 24 DREAM ON AEROSMITH 4:21 25 EDGE OF SEVENTEEN STEVIE NICKS 5:16 26 BLACK DOG LED ZEPPELIN 4:49 27 THE JOKER STEVE MILLER BAND 4:22 28 WHITE WEDDING BILLY IDOL 4:03 29 SYMPATHY FOR THE DEVIL ROLLING STONES 6:21 30 WALK THIS WAY AEROSMITH 3:34 31 HEARTBREAKER PAT BENATAR 3:25 32 COME TOGETHER BEATLES 4:06 33 BAD COMPANY BAD COMPANY 4:32 34 SWEET CHILD O' MINE GUNS N' ROSES 5:50 35 I WANT YOU TO WANT ME CHEAP TRICK 3:33 36 BARRACUDA HEART 4:20 37 COMFORTABLY NUMB PINK FLOYD 6:14 38 IMMIGRANT SONG LED ZEPPELIN 2:20 39 THE -
America's Changing Mirror: How Popular Music Reflects Public
AMERICA’S CHANGING MIRROR: HOW POPULAR MUSIC REFLECTS PUBLIC OPINION DURING WARTIME by Christina Tomlinson Campbell University Faculty Mentor Jaclyn Stanke Campbell University Entertainment is always a national asset. Invaluable in times of peace, it is indispensable in wartime. All those who are working in the entertainment industry are building and maintaining national morale both on the battlefront and on the home front. 1 Franklin D. Roosevelt, June 12, 1943 Whether or not we admit it, societies change in wartime. It is safe to say that after every war in America’s history, society undergoes large changes or embraces new mores, depending on the extent to which war has affected the nation. Some of the “smaller wars” in our history, like the Mexican-American War or the Spanish-American War, have left little traces of change that scarcely venture beyond some territorial adjustments and honorable mentions in our textbooks. Other wars have had profound effects in their aftermath or began as a result of a 1 Telegram to the National Conference of the Entertainment Industry for War Activities, quoted in John Bush Jones, The Songs that Fought the War: Popular Music and the Home Front, 1939-1945 (Lebanon, NH: University Press of New England, 2006), 31. catastrophic event: World War I, World War II, Vietnam, and the current wars in the Middle East. These major conflicts create changes in society that are experienced in the long term, whether expressed in new legislation, changed social customs, or new ways of thinking about government. While some of these large social shifts may be easy to spot, such as the GI Bill or the baby boom phenomenon in the 1940s and 1950s, it is also interesting to consider the changed ways of thinking in modern societies as a result of war and the degree to which information is filtered. -
MEIEA 2012 Color.Indd
Journal of the Music & Entertainment Industry Educators Association Volume 12, Number 1 (2012) Bruce Ronkin, Editor Northeastern University Published with Support from The 1969 Creedence Clearwater Revival Recording Contract and How it Shaped the Future of the Group and its Members Hank Bordowitz Bordowitz Media Werx Bergen Community College By 1969, the record business had been around in some way, shape, or form for nearly eighty years. For an octogenarian, it had never been healthier. A study commissioned by John Wiley of Columbia Records said that the business had grown 250 percent in the decade between 1955 and 1965. It predicted the record business would double in size again within the next decade. “The end of the upward trend is not yet in sight,” added Wiley. “Our future has never held more promise” (Rood 1965). With the passing of rock and roll into just rock, the day of the mu- sic business robber barons had begun to fade. The previous decade saw musicians with massive hit records living in poverty, contracted to virtual slavery as recording artists. As Etta James once said, “I…started my show business life living in a private hotel where you could cook. Other entertainers were there, like Curtis Mayfield. Ev- erybody lived in this one hotel. I was the one who had the kitchen. We used to put all our money together to eat. At that time, we would get two cents, three cents, five cents for bottles and at the end of the day we would get our money together and we’d get some food and cook it. -
Top 100 Hits of 1968 Baby the Rain Must Fall— Glen Yarbrough 1
Deveraux — Music 67 to 70 1965 Top 100 Hits of 1968 Baby the Rain Must Fall— Glen Yarbrough 1. Hey Jude, The Beatles Top 100 Hits of 1967 3. Honey, Bobby Goldsboro 1. To Sir With Love, Lulu 4. (Sittin' On) The Dock of the Bay, Otis Redding 2. The Letter, The Box Tops 6. Sunshine of Your Love, Cream 3. Ode to Billie Joe, Bobby Gentry 7. This Guy's In Love With You, Herb Alpert & The Tijuana Brass 5. I'm a Believer, The Monkees 8. The Good, The Bad and the Ugly, Hugo Montenegro 6. Light My Fire, The Doors 9. Mrs. Robinson, Simon and Garfunkel 9. Groovin', The Young Rascals 11. Harper Valley P.T.A., Jeannie C. Riley 10. Can't Take My Eyes Off You, Frankie Valli 12. Little Green Apples, O.C. Smith 13. Respect, Aretha Franklin 13. Mony Mony, Tommy James and The Shondells 24. Ruby Tuesday, The Rolling Stones 14. Hello, I Love You, The Doors 25. It Must Be Him, Vicki Carr 20. Dance to the Music, Sly and The Family Stone 30. All You Need Is Love, The Beatles 25. Judy In Disguise (With Glasses), John Fred & His 31. Release Me (And Let Me Love Again), Engelbert Humperdinck Playboy Band 33. Somebody to Love, Jefferson Airplane 27. Love Child, Diana Ross and The Supremes 35. Brown Eyed Girl , Van Morrison 28. Angel of the Morning, Merrilee Rush 36. Jimmy Mack, Martha and The Vandellas 29. The Ballad of Bonnie & Clyde, Georgie Fame 37. I Got Rhythm, The Happenings 30. -
John Fogerty Is Rehearsing for His first Extended Live Shows in More Than a Decade
May 21, 1997--- LOS ANGELES---The clouds of mystery are lifting over the mountainside studio where John Fogerty is rehearsing for his first extended live shows in more than a decade. Wearing a green plaid workshirt and pressed blue jeans, the creative force behind Creedence Clearwater Revival is preparing to hit the road to promote his new "Blue Moon Swamp" record, released Tuesday on Warner Bros. But the majority of the dates in New York, Los Angeles and Chicago will consist of Creedence hits. Fronting a quartet, Fogerty will even play some of the classics through vintage '60s gear. Fogerty has never leaned on Creedence songs as a solo act. Coming to terms with the past may account for the clarity of "Blue Moon Swamp." Full of dobros, guitars and passionate vocals, it is Fogerty's most rootsy album since his self-titled 1975 solo debut. Then again, maybe the clarity was already in place. "It came first," Fogerty says before rehearsal. "I get a lot of the clarity from my wife, Julie (Kramer, who hails from Elkhart, Ind.). Her positiveness helps me every day. That spilled over into my directness with the music, and I became very clear with who I should be. And that's a good thing to know, because there's been times in my life where I wasn't that sure. "(The dark, high-tech 1986 release) `Eye of the Zombie' is certainly a great example. So are some of the lost soul meanderings of the '70s, when I made an ill- fated record called `Whodo' that shows up in bootlegs at flea markets. -
Fogerty V. Fantasy, Inc., 114 S.Ct. 1023 (1994)
DePaul Journal of Art, Technology & Intellectual Property Law Volume 4 Issue 2 Spring/Summer 1994 Article 13 Fogerty v. Fantasy, Inc., 114 S.Ct. 1023 (1994) Douglas Michaud Follow this and additional works at: https://via.library.depaul.edu/jatip Recommended Citation Douglas Michaud, Fogerty v. Fantasy, Inc., 114 S.Ct. 1023 (1994), 4 DePaul J. Art, Tech. & Intell. Prop. L. 329 (1994) Available at: https://via.library.depaul.edu/jatip/vol4/iss2/13 This Case Summaries is brought to you for free and open access by the College of Law at Via Sapientiae. It has been accepted for inclusion in DePaul Journal of Art, Technology & Intellectual Property Law by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Michaud: Fogerty v. Fantasy, Inc., 114 S.Ct. 1023 (1994) Fogerty v. Fantasy, Inc., 114 S.CT. 1023 (1994). Introduction Fantasy, Inc. ("Fantasy"), the holder of a copyright for a song, brought an infringement action against John Fogerty ("Fogerty"), the musician who original- ly wrote the song. After his successful defense of the action, Fogerty moved for attorney's fees pursuant to § 505 of the Copyright Act. The United States Dis- trict Court for the Northern District of California denied the motion. It held that although prevailing plaintiffs are routinely awarded attorney's fees, prevailing defendants must show that the original suit was frivolous. The United States Court of Appeals for the Ninth Circuit affirmed. The United States Supreme Court reversed and remanded, holding that successful plaintiffs and successful defendants must be treated alike under § 505. -
King Harvest (Has Surely Come)" : Rural Populist Imagery in Roots Rock Music, 1967-1973 Christopher Lee Witte
University of Richmond UR Scholarship Repository Master's Theses Student Research 2006 "King Harvest (has surely come)" : rural populist imagery in roots rock music, 1967-1973 Christopher Lee Witte Follow this and additional works at: https://scholarship.richmond.edu/masters-theses Part of the History Commons Recommended Citation Witte, Christopher Lee, ""King Harvest (has surely come)" : rural populist imagery in roots rock music, 1967-1973" (2006). Master's Theses. 1347. https://scholarship.richmond.edu/masters-theses/1347 This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. ABSTRACT "KING HARVEST (HAS SURELY COME)": RURAL POPULIST IMAGERY IN ROOTS ROCK MUSIC, 1967-1973 CHRISTOPHER LEE WITTE CANDIDATE FOR DEGREE OF ARTS IN HISTORY UNIVERSITY OF RICHMOND MAY2006 PROFESSOR ROBERT C. KENZER The Americanroots rock musical genre of the late 1960's and early 1970's too oftenhas been overlooked in the historical discussion of popular culture of the period. This study, through an examination of the works of fivepopular musical groups- Bob Dylan, The Band, The Grateful Dead, The Byrds, and Creedence ClearwaterRevival - focuseson how this music tied into a continued American mythology tradition of populism. Through an approach that corresponds with Richard Slotkin's views on the creation of Americanmyth , and a focuson the lyrical content of the songs and their presentation of nature, the open road, American heroes and anti-heroes, and death and destruction, this thesis examines how these songs utilized populist philosophies foundin earlier American folkand blues music andadapted them as a means to explain and rationalize their place in the post-modem American society. -
Morgenstern, Dan. [Record Review: Earl Hines: a Monday Date] Down
avant garde with the JCOA), and so I working of Good Golly Miss Molly with Halcyon 101: My Monday Date; Off Time Just Too Soon; Chimes In Blues; Chica Bzu,,, regret that he has so often proven dull for a soup9on of Jailhouse Rock), Rain, which Life; Blues In _Thirds[ Stowaway; Panth!,° Dlligh me. Perhaps he lacks the chops (but I is effective medium-tempo melancholia, Personnel: Hmes, piano. '"'g, doubt it) or the passion. Whatever, I parts of Ramble (though for my taste it's Rating: * * * * * cannot honestly convince myself why I maybe a minute or so too long), and The neatly simultaneous reissue of If cannot "get into" his music, and sincerely Back Door, in which Fogerty demonstrates fabeled 1928 solo piano performances ines• presume the fault is my own. that he's the only vocalist since Buddy release of his 1970 reinvestigation of id Otherwise, the tunes on Spaces are most Holly who can get away with singing, same material offers a unique perspe t' e ly improvisatory sketches or mood pieces "Oh, boy" convincingly. on one of the greatest pianists in jazz c lVe The 1928 solos rank with the gr~ t ( Gloria's Step by Scott La Faro, Rene's However. It seems a time of searching st Theme by Rene Thomas, the others by for many bands, and CCR is looking for achievements of that rich decade, toge~h Larry or Julie Coryell), all especially new material and, as their recent pub with the four solos recorded for Columb:r graced by the rhythmic constancy of Cob licity extravaganza demonstrates, a wider later that year. -
Creedence Clearwater Revival on Willy and the Poorboys (1969)
Vietnam War Music Ballad of the Green Berets Staff Sgt. Barry Sadler and Robin Moore (1966) Fighting soldiers from the sky Fearless men who jump and die Men who mean just what they say The brave men of the Green Beret. Silver wings upon their chest Back home a young wife waits. These are men, America’s best. Her Green Beret has met his fate. One hundred men will test today, He has died for those oppressed But only three win the Green Beret. Leaving her his last request. Trained to live off nature’s land Put silver wings on my son’s chest. Trained in combat, hand-to-hand Make him one of America’s best. Men who fight by night and day He’ll be a man they’ll test one day. Have him win the Green Beret. Courage peak from the Green Beret. Ballad of the Green Berets Staff Sgt. Barry Sadler and Robin Moore (1966) Fighting soldiers from the sky Fearless men who jump and die Men who mean just what they say The brave men of the Green Beret. Silver wings upon their chest Back home a young wife waits. These are men, America’s best. Her Green Beret has met his fate. One hundred men will test today, He has died for those oppressed But only three win the Green Beret. Leaving her his last request. Trained to live off nature’s land Put silver wings on my son’s chest. Trained in combat, hand-to-hand Make him one of America’s best. -
FOGERTY V. FANTASY, INC
510us2$27H 06-19-97 23:10:27 PAGES OPINPGT OCTOBER TERM, 1993 517 Syllabus FOGERTY v. FANTASY, INC. certiorari to the united states court of appeals for the ninth circuit No. 92±1750. Argued December 8, 1993ÐDecided March 1, 1994 After petitioner Fogerty's successful defense of a copyright infringement action ®led against him by respondent Fantasy, Inc., the District Court denied his motion for attorney's fees pursuant to 17 U. S. C. § 505, which provides in relevant part that in such an action ªthe court may . award a reasonable attorney's fee to the prevailing party as part of the costs.º The Court of Appeals af®rmed, declining to abandon its ªdualº standard for awarding § 505 feesÐunder which prevailing plaintiffs are generally awarded attorney's fees as a matter of course, while defend- ants must show that the original suit was frivolous or brought in bad faithÐin favor of the so-called ªevenhandedº approach, in which no dis- tinction is made between prevailing plaintiffs and prevailing defendants. Held: Prevailing plaintiffs and prevailing defendants must be treated alike under § 505; attorney's fees are to be awarded to prevailing parties only as a matter of the court's discretion. Pp. 522±535. (a) Fantasy's arguments in favor of a dual standard are rejected. Sec- tion 505's language gives no hint that successful plaintiffs are to be treated differently than successful defendants. Nor does this Court's decision in Christiansburg Garment Co. v. EEOC, 434 U. S. 412, which construed virtually identical language from Title VII of the Civil Rights Act of 1964, support different treatment. -
John Fogerty on Ups, Downs, Becoming Music’S Fortunate Son
l i f e s t y l e THURSDAY, OCTOBER 8, 2015 M u s i c & M o v i e s Yoga serving as inspiration for Aguilera’s new music oga is serving as inspiration for Christina Aguilera’s This month she is pre-taping the beginning of season 10 of taped and the other’s airing ... which is what ends up happen- upcoming album. The pop star says that the physical NBC’s “The Voice,” which will air next year. Season nine, with ing.” Aguilera says she’s been keeping her big voice intact in Yand mental exercise is helping her find inner peace, and Gwen Stefani in Aguilera’s chair, premiered last month. The between albums and tours, and she’s learned to care less that’s influencing her music-making process. “Taking a love for Grammy winner said because two seasons of the show tape about being a technical singer and has learned to develop a yoga and breathing ... not looking at it as an exercise, but just simultaneously, she has had to take breaks from the Emmy- “signature style.” feeling more one with the Earth and everyone being connect- winning series. “I absolutely need those breaks,” she said, “Maybe when I was younger and very green ... to the ed, it’ll definitely have a reflection on the new record,” Aguilera laughing. “I will wholeheartedly, openly be honest about it business and just wanting to emulate my idols, I would try said in a recent interview. and just say that. I think it’s a little easier for Blake (Shelton) probably harder to cross T’s and dot I’s and hit certain She has “loosely been working on my record for a couple and Adam (Levine) - the show has definitely catapulted their notes,” she said. -
09/16/2004 - Creedence Clearwater Revisited Planning Two Concerts.Pdf University Marketing and Communications
Eastern Illinois University The Keep 2004 Press Releases 9-16-2004 09/16/2004 - Creedence Clearwater Revisited Planning Two Concerts.pdf University Marketing and Communications Follow this and additional works at: http://thekeep.eiu.edu/press_releases_2004 Recommended Citation University Marketing and Communications, "09/16/2004 - Creedence Clearwater Revisited Planning Two Concerts.pdf" (2004). 2004. 47. http://thekeep.eiu.edu/press_releases_2004/47 This Article is brought to you for free and open access by the Press Releases at The Keep. It has been accepted for inclusion in 2004 by an authorized administrator of The Keep. For more information, please contact [email protected]. Creedence Clearwater Revisited Planning Two Concerts on EIU Campus Sep-16-2004 Tickets are now on sale for two shows to be presented by Creedence Clearwater Revisited as part of Eastern Illinois University 's Family Weekend activities. Having performed before audiences all over North America, Europe and Asia, Creedence Clearwater Revisited will bring its sixties rock revival to the stage at EIU's Lantz Arena at 6:30 and 8:30 p.m. Saturday, Oct. 2. Tickets cost $17 and all seats are reserved. Tickets may be purchased through the Martin Luther King Jr. University Union Ticket Office, in person or via phone at (217) 581-5122. Visa and MasterCard will be accepted. Regular ticket office hours are from 10 a.m. to 3 p.m. Monday through Friday. Stu Cook and Doug "Cosmo" Clifford may not have intended it, but their band, Creedence Clearwater Revisited, has taken on a startling life of its own. The Rock and Roll Hall of Fame rhythm section (bass and drums, respectively) from the legendary group, Creedence Clearwater Revival, launched the Creedence Clearwater Revisited project in 1995 to once again perform live Creedence Clearwater Revival hits.